Thesis: Most critics praised Forrest Gump as a "feel-good" film with an emotionally touching character and message.

Audience: Parkland students. Many readers probably saw this film, and virtually all would be familiar with its main character. They would expect reviewers to praise the film and especially Hanks' performance. Women in particular would have strong emotional reactions to the character of Gump and the film's simple message. The strongest positive response would be from older students (those who remember the Vietnam War era) because of the film's heavy nostalgia.

Outline:

I. Introduction -- general theme & tone of the film, audience reaction; thesis

II. Each reviewer's thesis (overall evaluation of the film's message)

III. Tom Hanks' performance

IV. Director Robert Zemeckis

V. Supporting performances -- Field, Wright, Sinise, Humphreys

V. Emotional effect on audiences

VI. Conclusion -- general response to critics' views, evaluation of their opinions, analysis of audience reaction

With theater screens now dominated by action films and physical comedies, many movie fans believe the old tear-jerker is on its way to extinction. Then along comes a drama with a big-name star and a compelling message, and suddenly, "serious" films are back in vogue. The film that has caught the attention of audiences and reviewers is Forrest Gump, a bittersweet story with Tom Hanks as a feeble-minded hero. Critics were impressed, with most lauding it as a great "feel-good" film with an emotionally touching character and message.

Even though the critics weren't unanimous in their praise, all seemed struck by the film's message. David Denby of The New Yorker liked the theme of simplicity as a virtue, and said director Robert Zemeckis had successfully turned a corny character into great "poetic comedy" (50). Time reviewer Richard Corliss liked the story's twist on the heroic theme of good vs. evil, and gave high marks to Tom Hanks for making it believable (53). Even though most critics agreed with Denby and Corliss, a minority, including Polly Frost of Bazaar, thought the film's message and Hanks' performance were too corny and heavy-handed (40).

All the reviewers focused their attention on the performance of Tom Hanks in the title role. Denby and Corliss agreed that Hanks had created a hero that viewers could relate to. Denby identified with the way Hanks "celebrates a heroic fool" (50). Corliss complimented Hanks for using his classical training in comedy to underplay the Gump character early in the film so he could release his emotions so effectively at the end (54). Frost, however, criticized Hanks' performance as "standard issue" and failed to see any energy or creativity in his depiction of this character (40).

Reviewers gave director Robert Zemeckis credit for influencing Hanks' performance and for setting the tone of the movie. Denby described the feeling as a "lulling dreaminess and near poetry of innocence, pierced by sadness" (51). Corliss thought that by setting the story in a period of historical unrest, Zemeckis intended to get the audience to celebrate innocence (55). Frost was more impressed with Zemeckis' technical contributions; although she thought his overall tone was too heavy-handed, she did like the tempo and feeling he created in the early scenes (40).

The supporting cast also received high marks from the critics. Denby (51) and Corliss (54) both liked the performances of Sally Field and Robin Wright and thought their scenes with Hanks added depth to the Gump character. Frost called the acting of Wright and Field -- along with Gary Sinise -- "lovely" and seemed to think they were the film's saving grace. She was especially touched by Michael Humphreys' portrayal as the young Gump (40).

Critics were especially impressed with the way the film involved and touched the audience. Corliss believed the film's sentimental message and childish innocence could be seen in the faces of the audiences as they left the theater (he called it being "Gumped") (53). Denby gave much of the credit for this to the filming techniques, which he said were so "smart" that the audience got caught up in the fantasy and in Forrest's virtues (51). The only cynical view was expressed by Frost, who seemed to be turned off by all the film's attempts to touch the audience's emotions.  Specifically, she questioned viewers' sentimental response and the value that has in today's society (40).

Movie audiences seemed to agree with Denby and Corliss that this film was thought-provoking and uplifting. So did the Academy of Motion Picture Arts and Sciences; the film is nominated for 13 Academy Awards for 1994. Whether it wins or loses in April, it was a winner with most critics and with millions of movie goers, who were happy to indulge in a good story -- and may be hoping it signals the return of "feel-good" dramas to movie screens.


WORKS CITED

Corliss, Richard. "The World According to Gump." Rev. of "Forrest Gump". Time August 1, 1994: 53-54.

Denby, David. "Stupid Fresh." Rev. of "Forrest Gump". New York Magazine July 18, 1994: 50-51.

Frost, Polly. "Film Notes." Rev. of "Forrest Gump". Bazaar July 1994: 40.